Guitarist Jim Hall is the sort of musician who displays such technical expertise, imaginative conception, and elegance of line and phrase that almost any recording of his is worth hearing. Still, Concierto ranks among the best albums of his superb catalog. For starters, the personnel here is a jazz lover's dream come true…

Live! is the 1975 album by Jim Hall. Originally released by Horizon/A&M, this is taken from a CD remaster by Verve Music Group released on 25 March, 2003.

This fine club date features guitarist Jim Hall in Toronto with two of the top Canadian jazzmen, bassist Don Thompson and drummer Terry Clarke. The interplay between the three players is sometimes wondrous, and although the five selections are all familiar standards (such as "'Round Midnight," "Scrapple From the Apple" and "The Way You Look Tonight"), Hall makes the music sound fresh and full of subtleties. This enjoyable LP has yet to be reissued on CD.

Alone Together is the 1972 album by Jim Hall and Ron Carter, credited as the Jim Hall/Ron Carter Duo. Originally released on Milestones Records, this 1990 CD was released by Original Jazz Classics (OJC)/Fantasy Jazz.

A harmonically advanced cool-toned and subtle guitarist, Jim Hall was an inspiration to many guitarists, including some (such as Bill Frisell) who sound nothing like him. Hall attended the Cleveland Institute of Music and studied classical guitar in Los Angeles with Vicente Gómez. He was an original member of the Chico Hamilton Quintet (1955-1956), and during 1956-1959 was with the Jimmy Giuffre Three.

The third live CD featuring bassist Ron Carter and guitarist Jim Hall in a duo setting is yet another gem. This 1984 concert, taped at the Concord Jazz Festival, kicks off with Carter's lively blues "Telephone," which gives the pair an opportunity to tightrope walk in unison on the song's tricky theme as well as show off their individual chops as soloists. Hall's "Chorale and Dance" is a two- part composition that begins in a very formal, semi-classical vein before segueing into a Latin setting. They tackle the standard "Alone Together" at a faster clip than their first release together, yet maintain its intimacy…

Guitarist Jim Hall is the sort of musician who displays such technical expertise, imaginative conception, and elegance of line and phrase that almost any recording of his is worth hearing. Still, Concierto ranks among the best albums of his superb catalog. For starters, the personnel here is a jazz lover's dream come true. Paul Desmond (saxophone), Chet Baker (trumpet), Roland Hanna (piano), Ron Carter (bass), and Steve Gadd (drums) are on board, creating – along with Hall – one of the highest profile lineups ever put to tape. Yet Concierto is not about star power and showboating. As subtle, nuanced, and considered as any of Hall's output, the ensemble playing here demonstrates great group sensitivity and interplay, giving precedence to mood and atmosphere over powerhouse soloing. Conductor and arranger Don Sebesky evinces a chamber ambience from the sextet on "You'd Be So Nice to Come Home To," the smoky "The Answer Is Yes," and the Hall centerpiece "Concierto de Aranjuez".

Jim Hall and Geoffrey Keezer join forces for this exciting duo project, a limited-edition CD available exclusively through ArtistShare, ranging from intimate arrangements to joint improvisations. The two talented players, who are decades apart in age, are very much on a similar wavelength. Starting with a spacy revisit to Hall's Latin-flavored "End the Beguine" (previously recorded with Dave Holland on the CD Jim Hall & Basses, the guitarist moves on to his quirky bop vehicle "A Merry Chase," which is full of surprising lines from both musicians…

Long acclaimed for his understated lyrical approach to the guitar, Jim Hall's diverse arrangements on this CD are also first-class. His dazzling arrangement of John Lewis' "Django" features Hall with Pat Metheny, with both men on acoustic instruments for a change, accompanied only by drummer Terry Clarke and the occasional pizzicato accents of a 12-piece string section (violas and cellos!). Rarely has Gordon Jenkins' "Goodbye" been given such a fresh treatment; the brisk bossa nova rhythm, Joe Lovano's switch from clarinet to soprano sax midway in the piece, and Hall's interplay with Lovano and the strings…